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acts, lYi hrs (35c) 8 8 

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2 hrs. (35c) 15 

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2J4 hrs (50c) 6 6 

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2V2 hrs (35c) 9 7 

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(25c) 93 

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2 hrs (35c) 3 5 



M. F. 

High School Freshman, 3 acts, 

, ^.2 hrs ..(25c)12 

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^ hrs. (2Sc) 6 4 

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254 hrs (35c) 10 9 

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T, S, DENISON & COMPANY, Pubiishers 623 S.Wabash Ave., Chicago 



THE COON at THE DOOR 

A BLACK-AND-WHITE ACT 

BY 

JEFF BRANEN 

AUTHOR OF 

-The Battle of Roaring-Bull/' ''A Dark Secret ^ ''An Irish Alibi/' 

''An Irish Stew" ''How to Stage a Minstrel Show" ''Denison's 

Minstrel Opening Choruses and Finales" etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



THE GOON AT THE DOOR 



CHARACTERS. 

Doctor Who Blackens Up and Doubles as Henry 

Alexander The Doctor's Office Boy 

Bell Boy With a Few Lines 

Place — Any Apartment Hotel 

Time of Playing — Abont Twenty Mmutes. 



'^^ OCT luiy;^! 

Notice. — Production of this play is free to amateurs, but tlie 
sole professional rights are reserved b}' the Publishers. 



COPYRIGHT, 1921, BY T. S. DENISON & COMPANY. 



)CI.D 590y5 



i 



THE COON AT THE DOOR 



CHARACTERS AND COSTUMES. 

Doctor — Tall, dignified man about thirty-three, dressed 
professionally ; black Prince Albert preferred. The style 
of the times can be substituted if more convenient to the 
producer of the play. As Henry, the minstrel man — just 
enough change in dress to denote the difference between 
the black and the white tastes for "flash." 

Alexander — Medium size, preferably stout, age about 
thirty-five. Eccentric character suit, may be a couple of 
sizes too large to give him a sloppy appearance. 

Bell Boy — Uniform of an elevator boy or a bell-hop. 
Age about eighteen. 



PROPERTIES. 
Table. 

Rocking-chair. 
Two or three chairs. 
Telephone on table. 
Sofa. 

Screen hiding sofa. 
Dresser. 

Revolver in dresser drawer. 
Black-jack in dresser drawer. 
Razor in dresser drawer. 
Sign, 'Tire Escape." 
Two suit-cases. 
Dress suit too small for Doctor. 



STAGE DIRECTIONS. 

R. means right of stage; C, center; R.C., right center; 
L., left ; I E., first entrance ; U . E., upper entrance ; R. j E-., 
right entrance up stage, etc. ; up stage, away from foot- 
lights ; down stage, near footlights. The actor is supposed 
to be facing the audience. 



THE COON AT THE DOOR 



Scene: A room off main corridor in modern apartment 
hotel in any metropolis. Door R. leads to Doctor's bed- 
room. Door L. leads to kitchenette. Door C. leads to main 
corridor. Sign, ^^Fire Escape," can be seen through door 
hanging on back zvall of main corridor, A folding screen 
is in one corner of the room. 

Curtain rises to tune of a melancholy coon-song. Tele- 
phone ringing on table. 

Doctor {calling from off R.). x\lexander, answer that 
phone. {Bell continues ringing. Sticks head out, calling.) 
Alexander! {Exits through R. door. Snores are heard 
from behind screen.) 

Enter R. Doctor with grip and coat on arm, ready to 
leave. 

Doctor {answers telephone). Hello, hello. * * * Oh, 
this you, Jack? Yes. * * * No, I can't. I must catch my 
train. Td like to, old boy. Say, will you deliver a message 
for me? Pd * * * Where's Alexander? He went to a 
colored ball last night and didn't get back yet. I want you 
to get word to Mabel. Tell her I've been called out of the 
city * * * going to sing at the Elks' minstrels at {name 
local town). I won't be able to see her tonight. Will you? 
Thanks, Jack. I'll do as much for you sometime. {Looks 
at zvatch.) Great Scott! I'll never catch that train. Good- 
bye, old pal. Goodbye. ^ {Hangs up receiver quickly. 
Jumps up, grabs grip and exits C. door hurriedly.) 

{Snoring increases back of screen. Bell Boy sticks head 
through door at C.) 

. Bell Boy. Alexander. {Snoring increases.) Alexander! 
{He hears snoring and comes in. Seeing Alexander be- 
hind screen he laughs heartily and yells. ) Fire! Fire! 

4 



1 



THE COON AT THE DOOR S 

Alexander (jumps tip quickly and looks over top of 
screen at Bell Boy, tc/zo is laughing). What's the matter 
with you? 

Bell Boy. Gen'man down at the front door w^ants to 
see you. 

Alexander {carelessly). I don't want to see nobody. 
{Starts as if dressing hack of screen.) 

Bell Boy. You were down at the colored ball last night, 
weren't you? 

Alexander. Yes, sar. Yes. Who told you about it? 

Bell Boy. Never mind. Come near losing your gal, 
Liza, too, didn't you? (Alexander froivns and looks over 
top of screen at Bell Boy.) That tall razor-backed coon 
kind of cut you out, didn't he? (Alexander frowns again.) 
If I'm not mistaken, he is the gent down stairs wants to 
see you. 

Alexander {worried). Is he black? 

Bell Boy. Black as the ace of spades. 
• Alexander {frightened), Dat's him! Does he wear a 
gray suit of clothes? 

Bell Boy. Yes. 

Alexander. Oh, I know dat's him ! 

Bell Boy. What shall I tell him? 

Alexander {nervously). Tell him to go on about his 
business, dat's all. 

Bell Boy. All right. {Exits at C.) 

{Music very soft as Alexander comes from behind 
screen^ shuffles over and sticks head into R. door.) 

Alexander. Massa Doc. Time to get up. {Turns, 
yazvns and starts dusting around the room. Phone rings, he 
turns and looks viciously at it. Rings again.) Dar's dat 
old bell ringing again. You better not come here, Mr. 
Nigger, looking for trouble, or I'll just bust your head. 
{Bell rings again.) Shut up! {Dusts very excitedly.) 

Enter Doctor from C. with grip in one hand and coat 
over the other arm. Lays grip on table, removes gloves as 
he eyes Alexander, whose back is turned to him,) 



6 THE COON AT THE DOOR 

Doctor. Alexander! (Music stops,) 

Alexander (straightening np^ but not looking), Yessah! 

Doctor. Why didn't you answer that bell? 

Alexander (turning), I didn't hear no bell, MassaDoc. 

Doctor. I rang three times. 

Alexander. Dat bell is broke. 

Doctor. Why don't you get it fixed? 

Alexander. Tm goin' to, Massa Doc. 

Doctor. Do you know Fve missed my train on account 
of you? Got down to the depot and found that my light 
suit of clothes was not in my grip. 

Alexander. It's at de tailor's, Massa Doc. 

Doctor. Well, go get it at once — here. (Handing him a 
bill.) Hurry now, so I can catch the ten-thirty. 

Alexander. Yessah. (Takes dollar, exits through C, 
door. Bell rings again, he ducks back and Doctor turns 
angrily towards him.) 

Doctor. I thought you said that bell didn't ring? 

Alexander. Honest to goodness, Massa Doc, it don't 
ring. Dat's the way with that bell ; sometimes it rings and 
sometimes it don't ring. 

Doctor. That's queer. Take this coat into my room, 
then hurry over to the tailor. 

Alexander. Yessah! Yessah! (Grabs coat and exits 
through R. door. Doctor opens grip and examines con- 
tents.) 

Alexander enters from R. door with coat about three 
sizes too small for Doctor. 

Alexander (coaxingly). How comes it you never wear 
dis suit no more? 

Doctor (turns and looks at Alexander aiid coat). 
Where did you get that? 

Alexander. Don't you know? Why dat's been hang- 
ing on de wall for a long time and I just take it and brush 
it up and says to myself, 'Til surprise Massa Doc." 

Doctor (looking at coat). I don't remember ever hav- 
ing worn that coat. 



THE COON AT THE DOOR 7 

Alexander. Don't you? You just try it on. (Doctor r^- 
moves coat and Alexander slips the other one on. Can 
ad lib. conversation about the coat, Alexander stroking 
the coat and turning Doctor all around.) Dat's the best 
looking coat you ever had on. 

Doctor. Why, that's my last year's coat. It's three 
sizes too small. 

Alexander. I don't care if it is; it fits you jest the 
same. 

Doctor. Take it away. {Taking off coat.) You hurry 
over and get my suit at the tailor's. 

Alexander {very dozvncast, exits through R. door zvith 
coat and returns immediately). It's no use, Massa Doc, 
goin' after dat suit at the tailor's. The man said it wouldn't 
be done till Saturday. 

Doctor. This is Saturday. 

Alexander. Well, it's no use goin' over, it won't be 
finished. I know it won't, 'cause the man said it wouldn't. 

Doctor {going to telephone). Give me 1210 Main. * * 
Hello ! This you, Smith ? * * * Yes, this is Doc Farley. 
Say, Smith, is that suit of mine ready? * "^ * It is? All 
right. I'll send Alexander right over after it. 

Alexander {breaking in on him). Tell him to send it 
over 'cause I've got to pack your grips. 

Doctor. Oh, one moment. Smith ; send that suit over. 
What's that? Send the lazy nigger over after it? 

Alexander. What dat man calling me? 

Doctor {hanging tip receiver). Alexander, you go and 
get that suit. {Goes back to grip on table.) 

Alexander. All right, Massa Doc. But say, how long 
you goin' to be gone? 

Doctor. Day or two. 

Alexander. Well, you'll want dis then. {Goes over to 
dresser and gets out razor; slips it into his pocket.) Here's 
another thing you'll want. {Pulling out a gun and putting 
it in his hip pocket.) Here is something else, too. {Pull- 
ing out a black-jack and slipping it into Iiis other hip 
pocket.) 



8 THE COON AT THE DOOR 

Doctor (closing grip). The thing I most need is that 
suit of clothes. {Turning to give Alexander a desperate 
look.) 

Alexander. Yessah. (Starts to exit through C. door, 
in a manner that shozvs he is expecting trouble.) 

Doctor. One moment ! As I came up stairs there was a 
colored man at the door who insisted upon seeing you. 
Hereafter please remember, don't invite your colored friends 
to these apartments during my absence. (Doctor exits 
through R. door.) 

Alexander (peevishly). I didn't invite that gen'man up 
here. I never intimated that he should come up here. 
(Looks after Doctor, then at C. door. Pauses , then steals to 
telephone.) Give me 1210 Main. (Disguises voice.) Is 
that you, Smith ? h« * * Well, say, Mr. Smith, I can't spare 
Alexander right now; he's got to pack my grips. You 
send that suit of clothes right over. * * * What's that: 
What's that? No, it ain't. I say it ain't. Don't you call 
me an old nigger. I'll bust your head when I get over 
there. (Hangs up receiver with a bang.) 

Doctor (from off stage R.). Alexander, have you gone? 

Alexander. Yessah! I'm goin' right now. (Braces 
himself for the occasion^ walks to C. door, looks up, spies 
fire escape sign, looks at it for a few moments, sticks head 
out through door as if looking down hall, looks at fire escape 
sign again. Scratches his head and exits, inspired with an 
idea. ) 

Doctor (calling off stage i?.). Alexander! 
Doctor enters from R. door. 

Doctor. Alexander! I guess he's gone. (Walks up C, 
sticks head through C. door and looks down hall.) He's 
gone all right; he left the door open. (He comes down C. 
Crash is heard from off C. Looks for a moment.) Some- 
thing fell down the fire escape. (Looks at watch,) I've 
got a few moments for my rehearsal. 

{Cue for specialty: Doctor sings ballad. Exits through 
R. door. Returns immediately with grip in hand and coat 
over arm, looks at watch.) 



THE COON AT THE DOOR 9 

Doctor. Great Scott ! Only ten minutes. I can't wait 
for him. {Writes hurriedly, leaves note on table; exits 
through C. door.) 

Alexander (intmediately sticks head around C. D., op- 
posite side to that by which Doctor went out. Face smeared 
zvith ashes and clothes badly disarranged. He steals in qui- 
etly with the suit under his arm). Massa Doc! Massa 
Doc! I wonder where he is. {Goes over and picks up note 
zuhich he reads aloud:) ''Alexander, I couldn't wait any 
longer. I've only ten minutes to catch my train. You have 
certainly disappointed me. Doc." {Lays note down and 
comes to front of stage.) I'm awfully sorry about that. I 
should have gone after that suit of clothes the first thing. 
(Looks himself over.) No nigger there where I got off at. 
Somebody prevaricated, dat's all. {Does specialty, coon 
song.) 

At conclusion of song Doctor enters from C. He lias 
blackened up to represent the negro at door, Henry. Al- 
exander is bowing to the audience. 

Henry. Alexander ? 

Alexander {paralysed with fear, stares blankly ahead). 
Dat's him. I'd know that voice anywhere. {Never turning 
to look back.) 

Henry. Alexander, I want to see you. 

Alexander {still not looking aroiind). You just go 
about your business. I don't want to see you. 

Henry. I insist that I must see you face to face. 

Alexander {never looking). I insist that you w^ill not. 
You get right out of here, 'cause if Massa Doc should come 
back and find you here you'd go down that fire escape faster 
than I did a few minutes ago. 

Henry {advancing). Well, I'm going to see you. 

Alex^^nder {wheels with his hand on his hip pocket). 
Don't you! Don't you! {They stare at each other.) For 
de land's sake ! Is dat you, Henry ? 

Henry. Why, sure it's me. 

Alexander. Was dat you ringing de bell? 



10 THE COON AT THE DOOR 

Henry. Yessah, been down at the front door for de last 
half hour. 

Alexatsider {amazed). Why, I thought dat was some- 
body else. Where did you come from? 

Henry. Georgia Minstrels. 

Alexander. Georgia Minstrels? {They both shake 
hands.) 

Henry. Come all the way from Mobile to get you to go 
back with me. 

Alexander {dropping head sheepishly). Fm sorry, 
Henry, but I can't go back to the Georgia Minstrels. 

Henry. Why not? 

Alexander. Well, you see Fve got a nice man I'm work- 
ing for here and get my $8 a week. 

Henry {laughing). $8 a week. Why, you're worth 
fifty to the Georgia Minstrels. 

Alexander. Yes, I know: dat, and besides — you know 
— I've a young lady friend I might go and marry. 

Henry. You might? 

Alexander {looking up at Henry). Yessah. I think 
I'm engaged to her. 

Henry. Who, Liza Beasley? 

Alexander. Now look here, Henry. Don't you go 
saying anything defamatory against Liza. 

Henry. She was down at the colored ball last night, 
wasn't she? 

Alexander {solemnly). Yessah. 

Henry. You was down there, too, wasn't you, Alex- 
ander? 

Alexander (sadly). Yessah. 

Henry. Liza kinder got previous with a long, lean ra- 
zor-backed nigger, didn't ^he? 

Alexander {with a sigh). Yessah. 

Henry. Did you meet dat nigger? 

Alexander {rolls his eyes up and sighs again). Yessah. 

Henry. Did you know dat Liza and dat razor-back nig- 
ger eloped this mornin' at ten o'clock ? 

Alexander {zvith a start). \\'hat dat? 



1 



THE COOX AT THE DOOR U 

Henry. I said, do you know that Liza and dat razor- 
backed nigger eloped at ten o'clock this mornin'? 

Alexander (ztnth another sigh). Did Eliza elope with 
dat nigger? 

Henry. She most certainly did. 

Alexander (sighs again). 

Henry. I know it's hard, Alexander, to lose a gal when 
you think you're engaged to her, but it's no use you taking 
it to heart so. H Liza really thought anything of you I 
don't think she'd gone and run away with dat bow-legged 
razor-back ape. 

Alexander (more sighs). 

Henry. You'd better go back with me to the Georgia 
Mins'trels. They all like you down there and been crying 
their heads off for you ever since you left, and besides, if 
Liza ever did think anything of you and she finds dat you 
are somebody and dat you didn't go and blow out your 
brains on account of her, she'll come back looking you up. 
Come, what do you say, Alexander? You and I have been 
friends; what do you say? (After a pause Alexander 
looks up, gives Henry his hand. They look into each oth- 
er's eyes.) 

Slow Curtain. 



DENISON'S 

MINSTREL OPENING CHORUSES 
AND FINALES 

By JEFF BRANEN 

Something new. A boon, especially to amateurs. 
Assure the success of your minstrel Performance. 

Get your audience in a friendly mood, tingling with the warni 
glow of pleasure, from the opening curtain. Get away to a flying 
start and make a whirlwind finish, and your show will be pro- 
nounced a success, even though there may be some rough spots 
in between. Provide a relish at the beginning, make your inter- 
vening acts as good as your individual talent will permit and then 
leave your audience with a good taste in their mouths. Denison's 
Minstrel Opening Choruses and Finales are for the purpose of 
creating good first and last impressions. As such they are made 
to order and are as good as professionals ever used. 

No more will you have to follow the practice of relying for this 
all important work upon a novice who probably will throw together 
some stale choruses and call it an opening and perhaps may ask 
you to close with a simple song which means nothing. Each 
Opening Chorus and Finale tells an original and interesting story 
and will instantly thaw the chilliest audience. Laughable, ar- 
tistic and in excellent taste. The finale of each chorus is a witty 
"thank you." 

NOW READY 

Number One For Blackface Minstrels 

Number Two For Whiteface Minstrels 

Number Three ..For Female Minstrels 

Number Four For Legion Minstrels 

Piano Score, Words and Music. 

Price, Each Number, Postpaid, 75 Cents. 

Supplementing the vocal score, a special orchestration is fur- 
nished for each Denison's Minstrel Opening Chorus and Finale. 
It provides for eleven instruments including effective saxophone 
obbligatos, the latter being the final word in arrangements of 
this kind. The cost of the orchestration is extra, but is trivia] 
compared with the e^ense of employing a local or special arranger. 

Eleven-Instrument Orchestration (No sets broken). 

Price, Each Number, Postpaid, $1.50 

T. S. DENISON & COMPANY, Publishers 

623 South Wabash Avenue, CHICAGO 



I 



DENJSOrrS^CTING PLAYS 

Partial List of Successful and Popular Play, Large Catalogue Free 



FARCES, COMEDIETAS, Etc 
Price 25 Cents Each 

M. F, 

All on a Summer's Day, 40 min. 4 6 
Aunt Harriet's Night Out, 35 

min , 1 2 

Aunt Matilda's Birthday Party, 

35 min U 

Billy's Chorus Girl, 30 min!!! 2 3 
Borrowed Luncheon, 20 min.. 5 
Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min... 23 

Class Ship, 35 min 3 g 

Divided Attentions, 35 min... 1 4 
Fun in Photo Gallery, 30 min.. 6 10 
Getting Rid of Father, 20 min. 3 1 

Ooose Creek Line, 1 hr 3 10 

Great Pumpkin Case, 35 min.. 12 

Hans Von Smash, 30 min 4 3 

Honest Peggy, 25 min 8 

Irish Linen Peddler, 40 min... 3 3 
Just Like a Woman, 35 min... 3 3 

Last Rehearsal, 25 min 2 3 

Men Not Wanted, 30 min 8 

Mother Goose's Goslings, 30 m. 7 9 
Mrs. Jenkins' Brilliant Idea, 35m. 8 
Mrs. Stubbins' Book Agent, 30 m. 3 2 
Not a Man in the House, 40 m. 5 

Paper Wedding, 30 min 1 5 

Pat s Matrimonial ^'entu^e, 25 

min 2 2 

Patsy O'Wang, 35 min!.*.'.'.'!* 4 3 

Rummage Sale, 50 min 4 10 

Sewing for the Heathen, 40 

min * . . . . 9 

Shadows, 35 min !!!!!!! 3 4 

Sing a Song of Seniors, 30 min. 7 
Taking Father's Place, 30 min. 5 3 
Teacher Kin I Go Home, 35 

mm y 3 

Too Much of a Good Thing, '45 

min \ ^ 3 g 

Two Ghosts in White, 20 min!. 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 
Wanted : a Correspondent, 45 m. 4 4 
Watch, a Wallet, and a Jack of 

Spades, 40 min 3 A 

Whole Truth, 40 min 5 4 

Whos the Boss? 30 min 3 6 

Wide Enough for Two, 45 min. 5 2 
Wrong Baby, 25 min 8 

FARCES, COMEDIETAS, Etc. 
Price IS Cents Each 

April Fools, 30 min 3 

Assessor, The, 15 min !.! 3 2 

Baby Show at Pineville, 20 min. 19 
Before the Play Begins, 15 

mm 2 1 

Billy's Mishaps, 20 min!!!!!!r 2 3 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 25 m. 3 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

Far Love and Honor, 20 min.. 2 1 
Fudge and a Burglar, 15 min.. 5 



Great Medical Dispensary, 30 m. 6 
Initiating a Granger, 25 min.. 8 
Kansas Immigrants, 20 min... 5 
Lottie Sees It Through, 35 min. 3 

gair of Lunatics, 20 min 1 

Pat, the Apothecary, 35 min.. 6 
Please Pass the Cream, 20 min. 1 

Second Childhood, 15 min 2 

Smith's Unlucky Day, 20 min.. 1 

That Rascal Pat, 30 min 3 

Two Aunts and a Photo, 20 m. 
Two Gentlemen in a Fix, 15 m. 2 
Wanted: A Hero, 20 min..,.. 1 ; 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min 1 1 

At Harmony Junction, 20 niin. 4 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Coming Champion, 20 min 2 

l^resh Timothy Hay, 20 min.. 2 1 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

T . ¥^^A*. Happen, 20 min 1 1 

Little Miss Enemy, 15 min 1 1 

Little Red School House, 20 m. 4 
Marriage and After, 10 min.. 1 
One Sweetheart for Two, 20 m 2 

Oyster Stew, 10 min 2 

Pete Yansen's Curl's Moder, 10m. 1 
Quick Lunch Cabaret, 20 min.. 4 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Street Faker, 15 min 3 

Such Ignorance, 15 min 2 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min l 1 

Tramp and the Actress, 20 niin. 1 1 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 

Umbrella Mender, 15 min 2 

Vait a Minute 2 

BLACK-FACE PLAYS 
Price 2S Cents Each 

AxiV Her Father, 25 min 2 3 

Booster Club of Blackville, 25 

min iQ 

Colored Honeymoon, 25 min.'.V 2 2 
Coon Creek Courtship, 15 m... 1 1 
Coontown Thirteen Club, 25 m.l4 
Darktown Fire Brigade, 25m.. 10 
Good Mornin' Judge, 35 min.. 9 2 

Hungry, 1 5 min 2 

Love and Lather, 35 min 3 2 

Memphis Mose, 25 min 5 1 

Oh, Doctor! 30 min 6 2 

Troubled by Ghosts, 10 min... 4 
What Happened to Hannah, 15 

min 1 1 

A great number of 
Standard and Amateur Plays 
not found here are listed In 
Denison's Catalogue 



T. S. PENISON & COMPANY, Publishers. 623 S. Wabash Ave. , Chfcago 



-921 



POPULAR ENTERTAIU^.,^ 

Pric«, Illustrated Paper Covers, 38 cents 



016 102 705 4 




IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attrac t i v e 
individual cov- 
er design. 
A Partial List 

DIALOGUES 

Ail Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Diaipgues. 

Brand new, original. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dic^xens. 

Thirteen selections. 
Friday Afternoon Dialogues. 

Over 60,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



Monologues Grave and Oay. 

Dramatic and humorous. 
Scrap. Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 15 Nos., per No. 85c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of DrHls. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fr^sh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Christmas Entertainer. 

Novel and diversified. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes^ 

Parlor games for children. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

The Black-Face Joker. 

Minstrels' and end men*s gags. 

A Bundle of Burnt Cork Comedy- 
Monologues, stump speeches, etc 

Laughland,via the l-Ta-Ha Route. 
A merry trip for fun tourists« 

Negro IN^instrels. 

All about the business. 

The New Jolly Jester. 

Funny stories, jokes, gags, etc. 

Larse Illustrated Catalosue Free 



T.S.DENISON & COMPANY, Publishers, 623 S.Wabash Ave., Chicago 



